"Austen creates intensely personal microcosms of intensely political macrocosms." Discuss in relation to Pride and Prejudice.
' "You have a very small park here," returned Lady Catherine, after a short silence.' (Jane Austen, Pride and Prejudice). "Austen creates intensely personal microcosms of intensely political macrocosms." Discuss in relation to Pride and Prejudice. Tanner, in his essay on Pride and Prejudice, wrote: "during a decade in which Napoleon was effectively engaging, if not transforming Europe, Jane Austen composed a novel in which the most important events are the fact that a man changes his manners and a young lady changes her mind." This quotation reduces one of the most enduringly popular 'classic' works of English literature, Jane Austen's Pride and Prejudice, to an intensely personal tale of an individual relationship, utterly detached from the political context of the time. For many readers, particularly Austen's contemporaries, there is a tendency to emphasise this romantic, even mythical element to the plot. Isobel Armstrong, in her essay Politics, Pride, Prejudice and the Picturesque comments upon the "fairy-tale gratifications" of Pride and Prejudice, implying a view of Elizabeth as a Cinderella-like figure who, following a 'magical' moral transformation (in herself and Darcy) marries her very own handsome and rich 'Prince Charming' and lives happily ever after. This fantastical reading of the storyline implies a timelessness to the action, a sense in which romantic plot
Elizabeth Taylor's Journey in Life: Analyzed by Erik Erikson's Theory of Psychosocial Development.
Elizabeth Taylor's Journey in Life: Analyzed by Erik Erikson's Theory of Psychosocial Development By Theories of Personality December 4, 2003 Elizabeth Taylor's Journey in Life Elizabeth Taylor is one of the most recognized and successful movie stars of our era: violet-eyed, luminously beautiful, although never the most gifted actress, she was the most magnetic; elebrity is her lifeblood; tragedies her life-long struggles, the public eye her constant companion. She knew no moderation - it was all or nothing. Whether good (two Oscars, the first-ever one-million-dollar pay check, and charity work), bad (health and weight problems, drug battles, and other tragedies), or ugly (eight failed marriages, movie disasters, and countless scandals), no triumph or setback was too personal for media consumption. Elizabeth Rosemond Taylor was born in London in 1932 to American parents. Her father came from a family of reasonably affluent midwestern art dealers and had moved to London in the late 1920s to set up an English branch of the business. and moving with him to the centre of his family's gallery business in St Louis. Her mother had enjoyed some success on the stage, so the world of Hollywood and that of a touring actress was familiar to her, but she claimed it up for her marriage and two children, Elizabeth and her older brother.(Morley, 1998). Until she was seven years
"Words don't come easy": Emotional Education in Jane Austen's Pride and Prejudice
Emotional Education in Jane Austen’s Pride and Prejudice “Words don’t come easy”: Emotional Education in Jane Austen’s Pride and Prejudice Bettina Rad BA in English Studies University of Pannonia Author’s note: Faculty of Modern Philology and Social Sciences Institute of English and American Studies Consultant: Dr. Andrea Szabó F. Abstract This study sets out to investigate non-verbal communication, generally underestimated, with a view to the theme of emotional education in Jane Austen’s Pride and Prejudice. I claim that body motions, paralanguage and self presentation occupy a pivotal role in how Austen’s heroine teaches her hero to express his emotions, faithful to the novel’s generic indebtedness to the female gothic romance. First, I will give the definitional framework of my analysis relying on G.W. Porter’s theory of nonverbal communication. Second, I introduce the categories of physical and aesthetic nonverbal communication. In the next section I provide a close reading of the nonverbal interactions of Austen’s main characters, such as body-language, gestures, postures, music, and dancing. As a conclusion, I claim, that nonverbal communication proves to be an integral part of the novel’s discourse; no wonder, it has served as a blueprint for generations of readers in “speaking without words”. “Words don’t come easy”:
Jane Austen's use of irony in Pride & Prejudice, Emma and Persuasion.
SHABNAM ABUBAKER EXTENDED ESSAY 2001 Q: JANE AUSTEN'S USE OF IRONY IN: PRIDE & PREJUDICE, EMMA AND PERSUASION. Irony is a humorous or mildly sarcastic use of words to mean the opposite of what is said. Irony can be used in a satirical, humorous or sarcastic manner. It can be used to indirectly put a message across to someone as a joke. In Austen's books the characters sometimes valued irony because that is how they earn their success and to some it just made their life worse. However the characters are not fully aware of the irony used. This in itself is another aspect of irony. So, the question is why does Jane Austen use irony so much? "To Jane Austen irony does not mean, as it means to many, a moral detachment", (Encarta online encyclopaedia). To her it was all about humour and fun. I have discovered that she uses irony in most of her works. Her mother "had a great sense of humour" (Brodie's notes 1990:7) and it was probably genetically passed on to Jane. The convention within which she lived and wrote demanded a certain code of conduct, and this influenced her writing a great deal. Her way of showing what she thought of this way of living is by being ironic without being cruel, satirical without being complacent. In most of her books I have noticed that quite a lot of the characters are snobbish and their lifestyle is very
Midterm Written Celebration: Jane Austen
Maureen McKenzie Jane Austen Chesley 29 October 2008 Midterm Written Celebration Mansfield Park: What role does sense play in character development? Jane Austen used sense and sensibility as personality gauges for her characters within her novel. Sense was a measurement of a character's intellect, judgment, and self-knowledge, while sensibility was a measurement of emotions, taste, and responses. These characteristics are used to define characters as to their virtue in the Jane Austen world. The sense shown in the relationship between Edmund, Fanny, and Mary Crawford in Mansfield Park is an example of how Jane Austen uses sense and one's change in sense to define her characters' virtue and how the character's personal storyline turns out in the end. Edmund Bertram is a character who fluctuates in his sense, but as long as he fluctuates back to good sense, he is worthy of a wedding in the Jane Austen world. Fanny Price is the character who displays good sense. She displays intellect, good judgment, and has a sense of self; though by modern definitions her muteness would probably not be counted as such great sense. But the modern woman wouldn't be deemed to be so sensible in Jane Austen's time. Mary Crawford, with her outspokenness and willfulness should not be mistaken for the modern feminist. In Jane Austen's time this disregard for sense was a strike to Mary's
Trans-American Voices of Feminity: the Strengths and Angsts of Mujica’s “Frida” and Wurtzel’s “Prozac Nation”.
EXTENDED ESSAY Subject: English Literature Presented by: Catalina Echeverri TRANS-AMERICAN VOICES OF FEMINITY:THE STRENGTHS AND ANGSTS OF MUJICA'S "FRIDA" AND WURTZEL'S "PROZAC NATION" Number of Words: 3012 November 2003 ANGLO COLOMBIAN SCHOOL Bogotá, Colombia ONTENT Contents .... Page 1 Extract .... Page 2 Main Body .... Page 3 Bibliography .... Page 13 "Prozac Nation" by Elizabeth Wurtzel and "Frida" by Barbara Mujica are two amazingly similar texts, deriving from unbelievably different socio-cultural contexts. Elizabeth Wurtzel is a character of amazing wit and courage who is trapped between the bars of clinical depression. Through a profound and touching biography, Wurtzel portrays the typical life of young females in contemporary America. Frida Kahlo is a woman of admirable intelligence and unique personality, constantly tortured by a physically mutilated figure. Despite obvious contrasts of location and upbringing, both principal protagonists' experience remarkably parallel sentiments in terms of vulnerability and
One of the first letters we see in Pride and Prejudice is the letter from Mr. Collins to the Bennet family explaining of his wishing to come and stay with them. As soon as the letter is read we see Mr. Collins
24/05/05 Pride and Prejudice Set in the early 1800's, Pride and Prejudice tells the story of the upper-class society of the 5 Bennet sisters whose key aim in life is to marry into status. In the 1800's the only real ways of communication were either in person, although this could not be done alone very well and your only thoughts and feelings could not really be discussed. Or by letter, this method was a much better way of putting your character and feelings towards the subject matter across. This is shown in the 40+ letters that Pride and Prejudice contains. This was not unusual at the time, in most novels, but, Jane Austen has constructed the letters in such a way as to develop the plot and also the characters develop through the letters that we see throughout the novel. The letters are also a way for the characters to convey their thoughts and feelings and for the reader to explore their inner thoughts. Without the letters the plot would move on very slowly and the reader would not be able to understand the complicated plot line. The letters are a record of things previously said and so can be looked back upon, as such the letters are a good way for the story to be explained again or to recap on what has already happened but not been told to the reader. It is also a permanent record of who wrote the letter and as such is constructed very well to convey personality.
Discuss Woolf's evocation of time and space in the captured 'moments' of art and consciousness.
Discuss Woolf's evocation of time and space in the captured 'moments' of art and consciousness. 'A match burning in a crocus' (Mrs. Dalloway) 'The white spaces that lie between hour and hour' (The Waves) Discuss Woolf's evocation of time and space in the captured 'moments' of art and consciousness. Forged from the duality between solitude and communion, Woolf's novels are rich in struggles for, and reflections on self-identification. This recurrent idea can take many forms. Social identification is one of the most obvious: take Mrs. Dalloway's party, or Jinny's affirmative: "This is my calling. This is my world."[1] A modification of that brings identification in regard to a tradition: Lady Bruton's Victorian past, or Mr. Ramsay's desire to be among those thinkers who reach the latter letters of the alphabet. Consider also familial identification, particularly James' hatred, or Elizabeth Dalloway's trip on the omnibus. Sexual identification (the latent homosexuality in Mrs. Dalloway, or the reverberating childhood kiss of The Waves) and emotional identification have a more personal edge. Yet underpinning all of these is a form of metaphysical self-identification, summed up in all its ineffable futility by Lily Briscoe; "The old question which traversed the sky of the soul perpetually, the vast, the general question, which was apt to particularise itself at such moments as
An Exploration of D.H. Lawrence's, "The Odour of Chrysanthemums" brings to light the true fragrance of chrysanthemums set in contrast to Katherine Mansfield's, "The Garden Party".
An Exploration of D.H. Lawrence's, "The Odour of Chrysanthemums" brings to light the true fragrance of chrysanthemums set in contrast to Katherine Mansfield's, "The Garden Party", which makes for an interesting discovery into the reality of human class construction and distinction through the depiction of interpersonal human relations and the effect on them of class. "From the mechanical monster terrifying the cantering colt at the beginning, (a brilliant bit of Lawrence this - demonstrating the way that the iron horse may be able to carry more than the animal but that it can't beat it's pace) to the un-weeping widow at the end, we may think that this is just a 'tale'. But hours after the story is finished, the images are still with the reader." - Helen Croom An opposition between nature and society creates the central, juxtaposing theme of D.H. Lawrence's, "The Odour of Chrysanthemums". A verification of this theme is evident in Elizabeth's recognition of the absolute differences between her world and the world of her now dead husband, based on her perceptions. Elizabeth is confronted with the shocking reality that she only knew the body of her now dead husband, but never gained knowledge of his true existence; his soul. "The Odour of Chrysanthemums" functions as a depiction of human relations and the effect on them of class, as portrayed by the third person,
Discuss the ways in which marriage is represented in Pride and Prejudice.
Discuss the ways in which marriage is represented in Pride and Prejudice. Pride and Prejudice originally titled First Impressions was first published in 1813, the second of Jane Austen's six novels. In this essay I attempt to discuss and illustrate the ways in which marriage is represented in Jane Austen's Pride and Prejudice with particular regard to respect. Marriage is the key theme in Pride and Prejudice, and in many other Austen novels. '...However elegantly they conceal their triumph, marriage is the aim of all Jane Austen's heroines and we do not see them again...'. (pg 45 Beer.P 1974) It was the ultimate destination and ambition of most of the middle and upper class females of Miss Austen's immediate life experience and she has perhaps used her experience and impressions in crafting her own characters reflecting the positives and the negatives of the married state. It is perhaps surprising that she never married, although there is some evidence of love affairs, there have been rumours of two, one whom died, the other deemed unsuitable and sent away. Women in the late 18th Century had little financial independence, they were unable to own or inherit property or money, they were dependant on the dominant male in their family be it their father, husband or brother. Women were the 'property' of their father until they married and often marriage was the only